The film begins with a striking black-and-white narrative that centers on Edgar, a man deeply engrossed in a mysterious project exploring the four stages of love: meeting, physical passion, separation, and reconciliation. His journey spans three pivotal life stages: youth, adulthood, and old age. Edgar spends his time flicking through an empty book, staring at its blank pages, as if awaiting inspiration to strike. He grapples with the uncertainty of whether his creation should manifest as a novel, a play, an opera, or even a film.
Set against the charming backdrop of Paris, Edgar embarks on interviews with a diverse array of individuals, including the marginalized souls deemed les misérables by Victor Hugo, whom he believes are essential to his work. Despite his efforts, he remains perpetually dissatisfied, yearning for a connection to Berthe, a woman he encountered two years prior, known for her boldness and candor. Prompted by his financial backer, Mr. Rosenthal, an art dealer linked to Edgar's family legacy, he discovers Berthe at her night job cleaning trains. Though she recognizes him and appreciates his memory, she refuses to partake in the endeavor, choosing instead to juggle multiple jobs while caring for her young son.
As Edgar continues his quest, he grapples with capturing adulthood, while the stages of youth and old age seem to unfold more clearly before him. A chance encounter leads him to a lecture by expatriate journalist Mark Hunter regarding the Kosovo War, which allows him to reconnect with Berthe. The pair stroll through the city, discussing life amidst its signs and monuments, culminating at an abandoned Renault plant where they ponder the fate of the workers' movement. However, their connection reaches a poignant climax during a phone call, where they reflect on their past while recognizing an unresolved tension surrounding his project.
In an emotional twist, Edgar visits a homeless shelter and selects a man for a tender shower scene, observed by Mr. Rosenthal. The project's status remains nebulous, and the tension builds as Edgar seeks information regarding Berthe.
Transitioning to a vibrant, over-saturated color scheme in the second part, the timeline shifts back to two years earlier. Edgar arrives in Brittany, where he meets a minister of culture who introduces him to Jean Lacouture, beginning with an exploration into the role of Catholics in the French Resistance. This interaction leads him to an elderly couple, lifelong partners whose story is being eyed for adaptation by “Spielberg Associates,” though their granddaughter, Berthe, seeks to challenge the contract they feel might shortchange them.
Their encounter initiates their relationship, yet Berthe, struggling against corporate forces, finds herself entangled in a fight against a nebulous identity—Americans lacking a clear national delineation. This effort proves fruitless. As Edgar returns to Paris, he reflects on the paradox of thought and perception—how every new vista is inevitably contrasted with the familiar. Unbeknownst to him, a dark fate looms ahead for Berthe, which will ultimately impact the course of his already tumultuous journey.
